Tuesday, 30 September 2014

Theatre Ontario is thrilled to welcome Ron Cameron-Lewis as adjudicator for the 2015 Theatre Ontario Festival in Oshawa. The Festival will be Ron’s penultimate appearance as an adjudicator in Ontario, leading to his “swan song” appearance as adjudicator of the 2016 Western Ontario Drama League Festival (although he will continue with some international theatre work.)

“I am honored to be invited to adjudicate the Theatre Ontario Festival in Oshawa,” said Ron Cameron-Lewis. “This marks the fifth time in the past 29 years that I have been asked to adjudicate the top productions from around the province. Having attended many more Theatre Ontario Festivals as well, I look forward to reconnecting with many friends from all aspects of my half century of experience in community theatre.”

Ron is well known to community groups across the province as a teacher, adjudicator and workshop leader. He has adjudicated well over 2,000 productions throughout Ontario for community and educational theatre festivals, as well as in the USA at state, regional, national and international levels. Since 2010, he has taught the art of adjudication to 50 people, three times at Theatre Ontario Festivals and twice at AACT national festivals in Rochester, New York, and Carmel, Indiana. In 2010, Sheridan Institute of Technology and Advanced Learning appointed him Professor Emeritus, and in 2013, Ron was elected as Member-at-Large for the American Association of Community Theatres for a three-year term.

Theatre Ontario Festival 2015 will be held in Oshawa from May 13 to 17, 2015 and is co-hosted by Theatre Ontario, Oshawa Little Theatre, and the Association of Community Theatres—Central Ontario.

In Toronto
Sep. 30, Life, Death and The Blues at Theatre Passe Muraille, currently in previews*
Oct. 1, QueerCab at Buddies in Bad Times Theatre
Oct. 1, Kiss and Cry at Canadian Stage*
Oct. 5, What Makes a Man at Canadian Stage, in previews*

ONstage Now Playing in Central OntarioThe Curious Savage at Peterborough Theatre Guild

In Central Ontario
Sep. 30, Country Jukebox – The Best of Country Duets at Theatre Collingwood

Friday, 26 September 2014

This week's hot topic in the Twitterverse has been the news that Factory Theatre and Quiptake in Toronto will be holding the media night for The Art of Building a Bunker at the fifth performance after opening.

And ICYMI: prior to this particular news, Jillian Keiley, Artistic Director of the National Arts Centre English Theatre suggested on #CdnCult Times that we need to "get a real subjective conversation going"

My own reflections so far: this is an experiment. Applying some "scientific method" to the experiment - Factory/Quiptake have not shared their hypothesis with us, and so we are making assumptions about that hypothesis. And unfortunately, I think the "observer effect" of those assumptions is going to affect the experiment.

Thursday, 25 September 2014

We are thrilled to welcome Erin Keating as the new Program Coordinator of Theatre Ontario. Erin is an arts administrator and playwright who recently relocated to Toronto from the Maritimes.

“I’ve had a lifelong passion for the arts, none more so than theatre, and made the move to Toronto to become a part of the diverse and robust theatre community this city and province have to offer,” said Erin. “I could not be more thrilled to be welcomed onto the Theatre Ontario team and have the opportunity to facilitate, advocate and support the already thriving theatre industry of this province.”

Passionate about both theatre and music, Erin previously worked as Operations Manager of Theatre New Brunswick, the province’s only English-speaking professional theatre company, and as Music and Marketing Coordinator of Fredericton’s Harvest Jazz and Blues Festival, the biggest music festival on Canada’s east coast. While with Theatre New Brunswick, Erin served as Secretary for PACT’s Regional Theatre Caucus.

As a playwright, Erin’s plays have been produced by the NotaBle Acts Theatre Festival, Saint John Theatre Company, Theatre on the Edge Festival, and TNB New Voices. She also had the opportunity to co-adapt Miracle on 34th Street for Theatre New Brunswick’s Main Stage last Christmas, which will be remounted at Sudbury Theatre Centre, and the Savoy Theatre in Glace Bay, Nova Scotia this Christmas. She has also acted as dramaturge on several scripts, most recently David Adams Richards’ Beaverbrook.

Erin holds a degree in Journalism and Communications from St. Thomas University in Fredericton, NB, and has developed her playwriting by working with, and learning from, such notable playwrights as Mieko Ouchi, Jeffrey Hatcher, and Walter Learning, and through her involvement with the Playwrights Atlantic Resource Centre.

“We are very excited to have Erin join the Theatre Ontario team and add her authentic voice to serving our membership,” said Bruce Pitkin, Executive Director. “Erin brings a discerning perspective and keen insight, which will enrich the vitality of our programs and services for all of our professional and educational supporters. Please join me in welcoming Erin!”

With the province’s municipal elections now just a month away, many of the province’s ArtsVote coalitions are hosting events, surveying candidates, and making sure that arts and culture are part of the election conversation.

What’s happening in your community? Here are a few updates from active ArtsVote communities.

Niagara: September 18 featured the launch of a new website in Niagara and supporters are pledging support through a picture campaign. They have also issued surveys to candidates for ArtsVote report cards.

Windsor and Region: The Arts Council of Windsor and Region has been collecting proposed questions from the community, and are now issuing surveys to local municipal candidates in Windsor, Essex, Lakeshore, LaSalle, Tecumseh, Leamington, Kingsville and Amherstburg.

The Professional Theatre Training Program offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance. The application deadline is October 1.

The Youth Theatre Training Program offers financial support to programs led by professional theatre artists, which deliver accessible training to young people (age 14 to 21) in theatrical skills. The application deadline is October 15.

Tuesday, 23 September 2014

What happens when you fill a room with a group of seasoned theatre professionals, who all serve as Theatre Ontario adjudicators? When everyone sitting around the table is used to having the floor, giving opinions and guiding the discussion, you might think dialogue impossible.

On September 13, Anne Mooney and Bruce Pitkin played hosts to the annual Theatre Ontario Adjudicators’ Symposium. The day’s focus was on sharing best practice, and refining the standards for our adjudication process. With attendees running from novices to veteran Talent Bank members, all with a wide range of perspectives and experiences, the group enjoyed a full day of valuable discussion.

Anne’s focused agenda, along with her cookies and Bruce’s bottomless coffee pot, facilitated a warm and lively exchange throughout the day. We readily came to agreement around the standards for our adjudication work. We are keen to ensure that our shared practice throughout the province meets the needs of our community groups. At the same time, we hope to deliver feedback, facilitate dialogue, and offer ongoing education around all aspects of production with consistency and clarity.

Participants at the annual Symposium always represent a rich variety of experiences. Since the practice our craft is a solitary pursuit throughout the season, It’s important to have the chance to talk over some of the questions that confront us in our work.

This year, for example, we once again enjoyed a lively debate around copyright concerns. We broke free of our often circular discussion about the confusion around SOCAN, Re:Sound, and the obligation of artists and producers to secure rights, and if required, pay royalties for the use of music within a production. We’d been down this road before.

Caroline Smith pointed out the concept of “Grand Rights” to us all, and explained that securing them can be a process both lengthy and costly. Lindsay Price suggested that we might all consider looking at music that is openly shared under new Creative Commons licence. As I had doggedly spent hours telephoning and faxing rights holders over the years to secure permissions, I found these suggestions intriguing! That sent me off in search of some answers to the inevitable questions I had after the meeting. Let me share with you these websites! I found some VERY useful information:

Several of us chimed into the discussion with the reminder that groups can seek out composers and commission original music. That had long been my practice in Perth, Ontario. Working with the fabulous composer and teacher Jack Hurd ( shout out to Jack in Perth!), I was able to involve many more artists in the productions - inspiring us all in the process, and heightening the theatrical experience for our audiences.

You have to believe that the Symposium is well loved by the Adjudicators. If it didn’t offer such worthwhile professional development, the Theatre Ontario office wouldn’t be so popular a Saturday destination once every Fall.

Thursday, 18 September 2014

Eight individuals were chosen as recipients of Theatre Ontario’s Professional Theatre Training Program grants during our Spring 2014 application round. This month, we check in with three projects: one at the beginning, one in the middle, and one that has finished.

Tim Welham is training in Actor Training and Coaching with Ian Watson at Ryerson University and the National Theatre School (Toronto / Montreal)

As I write this report, I'm in the middle of performing my solo version of Richard III at the Edmonton International Fringe. So being steeped in Shakespeare makes the prospect of jumping into yet another Shakespeare-based project next week absolutely thrilling! Starting on September 2nd, I will be mentoring under Shakespeare master teacher Ian Watson at both Ryerson University in Toronto, and the National Theatre School of Canada (NTS) in Montreal. While at Ryerson, we will be leading the second-year acting students through their Shakespeare project: teaching them the fundamentals of acting technique through classical text, and directing them in a public production. While at NTS, we will be coaching the graduating students on their Theatre Ontario Showcase monologues, and helping them with Shakespearean audition preparation.

Officially, I am mentoring under Ian in "Actor Training and Coaching", but the mentorship will inevitably cover much more. In addition to coaching the students, I will be learning about the pedagogy surrounding teaching Shakespearean acting technique, the workings of the two institutional administrations, and co-directing a full production. It feels like a lot to cram into thirteen weeks, but I'm looking forward to the challenge!

This mentorship has been in the works for the past few months, and Ian and I have been wanting to work together on a formal teaching and coaching project for even longer. We first met while I was completing my undergraduate acting training, and have remained good friends ever since. Ian is one of the most practically-minded Shakespeare text coaches in Canada, and works all over the country. He is currently finishing the season coaching on multiple productions at the Stratford Festival, and regularly teaches at the Birmingham Conservatory, Ryerson University, George Brown College and NTS. I am eager to learn from Ian, his vast knowledge, and extensive teaching abilities. I am confident the two of us will be able to meet any challenges and work through any difficulties we encounter together, and within the work itself.

The more Ian and I chat about the project, the more excited I get about the mentorship. We have already confirmed the dates for our first trip to Montreal, had a few conversations about the students and their needs, and spent a great deal of time cutting and editing the script for the Ryerson production. (Can't name the play here, unfortunately - we've yet to make the information public!) I've also been reading up on academic Shakespearean criticism, and doing my own prep work in anticipation of the first weeks of technique fundamentals.

Another exciting addition to our plan involves me holding in-studio "office hours" one evening per week while at Ryerson. Ideally, when the students (in either the 2nd or 4th Year) arrive with questions and concerns about monologues or scenes, we can solve them immediately and practically, on our feet in a studio space. Being able to lead private tutorials will not only be a great learning opportunity for me, but will also give the students more contact hours working the text.

This mentorship comes at the perfect time in my career as well: I have spent the past few years learning and working abroad as an actor in England and Europe, and recently completed my Masters in Classical Acting from the Royal Central School of Speech and Drama in London. This combined experience puts me in a unique position to teach the students: I will be able to offer them a different perspective on acting training, style and technique, and be able to advise, coach, and encourage from the point-of-view of a working professional - as opposed to formal teacher/professor.

I know one of the challenges of this work is managing individual learning styles, and I won't always have the answer to relieve an acting block, but I am confident in my abilities to guide a young actor through the processes I have seen succeed in my work and training. I'm also eager to learn from the students themselves! While I have extensive experience teaching students, and performing Shakespeare, I have yet to truly marry the two skills. Over the thirteen weeks, I anticipate learning a great deal about myself and my abilities through teaching and interacting with the students, as well as through Ian's careful guidance and advice.

Overall, I am very much looking forward to getting started with Ian, meeting the young actors, and beginning rehearsals and tutorials. The upcoming months will inevitably present many unexpected challenges, but I am keen to jump into everything with both feet!

Thank you Theatre Ontario for facilitating this fantastic mentorship opportunity.

Madeleine Donohue is training in Producing and General Management with Monica Esteves and Eric Goldstein at Crow’s Theatre in Toronto

At the half-way point in my training with Eric Goldstein and Monica Esteves at Crow's Theatre, I am now more confident than ever in the knowledge that this experience has come at exactly the right time for me in my career. I am looking forward to completing the program with a clearer picture of how I can be an asset to the company, and also a clearer focus regarding my own ambitions and interests outside the Crow's environment.

So far, I have been working primarily with Eric, as Monica focuses her attentions on the capital campaign, and the preparations for the opening of the company's new venue. However, I will be spending more time with Monica this fall as she guides me through the basics of her fundraising, corporate sponsorship, and budgeting procedures, all of which are areas in which Monica excels, and in which I was specifically hoping to increase my understanding. My main tasks during the spring session were assisting Eric with contract preparation, travel arrangements, and agent negotiations for the recent workshops of their upcoming production The Watershed. He guided me through the ins and outs of the various Equity agreements, and had me serve as the main contact between the artists and agents for scheduling purposes, which was an entirely new experience for me! My other main focus was assisting Eric and Mitchell Cushman with the execution of the East End Performance Crawl, which was an incredibly valuable experience from a producing perspective. Eric and Mitchell were very forthcoming when I approached them with questions regarding the planning process, and they trusted me with a variety of duties, including arranging transportation and accommodations for out-of-town artists, manning the phone lines to deal with patron questions and concerns, and running the front of house and box office for a different venue every night. This experience allowed me to use some of the skills that I've developed in my own work as an indie producer, and I often found myself dealing with unexpected situations that required me to think on my feet, and to remain patient and composed when faced with interpersonal and logistical conflicts at the venues, whether with artists, patrons or sponsors.

One aspect of my original plan that has evolved somewhat is my interest in (and appreciation for) the complex working dynamics of a creative office environment, particularly at Crow's where everyone is working in a small, open-concept space, with many distractions. Having never worked in an office environment, I was curious to see how everyone manages their time, how individual tasks are delegated, and how the whole machine continues to run smoothly. I did not come to this experience with any remotely impressive computer skills, and I'm glad to say that I'm now much more confident in this area; I was often asked to deal with small tasks such as faxing, receiving orders, fixing equipment, creating labels, filing, preparing invoices, etc., and I now have a far greater appreciation for how beneficial these simple organizational and practical skills are for a producer or company manager. In my own previous work I have been able to get by without developing many of these simple skills, and it gives me greater confidence moving forward to no longer feel that technology is my enemy! Perhaps not the most important lesson from my time at Crow's thus far, but a surprising and welcome one.

This fall, I will be assisting with many aspects of the planning for Crow's 2015 production of The Seagull, as well with their production of Watershed in Montreal. And, as mentioned, I will shadowing Monica more often as she negotiates with sponsors, developers and donors in regards to the preparations for their new theatre space. Eric and Monica have been as inspiring, supportive, and available as I'd hoped, and I'm looking forward to getting to know them and the company better as I continue to learn and work with them this fall.

Joseph Recinos trained in Producing with Marilo Nunez at Alameda Theatre Company in Toronto

It’s been one hell of a ride. The work is the work no matter what. I’ve completed my training with Marilo and I have to reiterate: it’s been one hell of a ride. The production Paradise Red which premiered at SummerWorks this year was a journey. To begin, Marilo fell ill at the start of rehearsals and was Skyping in for the full first week; and then, about four days in, providence would have it that the challenges for this production would pick up and MC, our Stage Manager, came down with strep throat and was also out of service. “Oh where oh where can our saviour be? Oh where oh where can they be?” I swear that would have been the anthem for the cast and crew, had it not been for Marilo’s commitment to making the art happen. Brave woman she.

I learned a lot about where I want to go and what I want to do through the course of this training. Marilo taught me a lot, though I’m sure not in the way we would have imagined. Art requires sacrifice. No, scratch that—passion requires sacrifice. I learned that staying true to one’s passions and dreams is super important. From what Marilo has shown me first hand: how far am I willing to go to stay true to my passions? What am I willing to give in order to free my artistic voice? Most importantly once I do, how do I keep singing against the cacophony of noise that is funding, grants, egos, politics, …life?

No matter what happens staying true to yourself, your needs and wants (artistically) are the most important aspect of whatever endeavour one takes on. And initiating any project with passion is always best. The ‘deep’ sentiments aside, I feel like I’ve been able to develop more of my ‘business’ voice through this opportunity and am very much looking forward to what the future holds in store for me in this industry.

Up next I will be producing the Sebastian Heins’ one man show Brotherhood: The Hip Hopera, being produced by b current and premiering at Buddies in Bad Times Theatre in October.

Til’ then.

The next application deadline for the Professional Theatre Training Program is October 1, 2014.

Wednesday, 17 September 2014

A stomp in time and space.Free demonstration and discussion of SITI Company's training dichotomies onSeptember 22.

Theatre Ontario and Why Not Theatre are hosting “A Stomp In Time And Space” on September 22 in Toronto, a free demonstration and discussion of SITI Company’s training dichotomies from the recipients of the Independent Theatre Creators International Training Scholarship

Unleashing Your Inner Entrepreneur (formerly known as Self-Start: The Basics of Producing) on September 24 in Toronto is for artists thinking of producing a show or starting a theatre company (free for Theatre Ontario individual members)

The Professional Theatre Training Program offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance. The application deadline is October 1.

The Youth Theatre Training Program offers financial support to programs led by professional theatre artists, which deliver accessible training to young people (age 14 to 21) in theatrical skills. The application deadline is October 15.

Deadline for submissions for Theatre Passe Muraille’s Youth Blues Challenge is September 19

Ottawa Little Theatre’s Pick Up the Pace: A Field Guide to Playwriting with Dan Needles is on September 20

Alameda Theatre Company’s Playwriting Master Class with Caridad Svich is on September 21 and 22

Playwright’s Guild of Canada’s Libretto Writing workshop with Marjorie Chan is on October 6; registration closes on September 22

Port Stanley Festival Theatre is holding their free Playwrights Festival on September 26, featuring a public reading of “Feathers”, part of their new play development program

New on The Bulletin Board

WorkInCulture now invites nominations for the Robert Johnston Award, honouring individuals who have made a tenacious commitment to furthering human resources development in the cultural sector in Ontario; deadline is October 9

Alumnae Theatre is holding a playwriting intensive with Maja Ardal; applications are due on October 10

Tarragon Theatre invites submissions for the OAC Theatre Creators Reserve, with a deadline of October 17

Theatre InspiraTO invites applications for their Playwriting Academy; the deadline is October 23

Toronto Fringe Festival invites applications for the OAC Theatre Creators’ Reserve, with a deadline of October 31

Thursday, 11 September 2014

Do you know an individual or a collective whose leadership, activism, and service has contributed to the development and strengthening of arts and culture in Ontario through innovative and practical initiatives? We are now inviting nominations for the 2015 Sandra Tulloch Award for Innovation in Arts and Culture.

The award was established in 1998 by friends and colleagues of Ms. Tulloch on her retirement as Executive Director of Theatre Ontario. This award pays tribute to the outstanding contribution that Sandra Tulloch has made to the arts in Ontario. For nearly twenty years, Ms. Tulloch played a pivotal role at Theatre Ontario, facilitating numerous visionary initiatives in the community, professional and educational theatre sectors. As an arts administrator, producer, arts advocate, project leader, and community activist, she has continued to devote an enormous amount of time and energy to the arts throughout the province.

The award is sponsored by Marinucci & Company, Chartered Accountants and consists of a $1000 prize and a statuette entitled “JOY”, designed by artist Barry Burniston of North Bay, with bronze casting by Craig Meschino of Toronto.

Wednesday, 10 September 2014

Adjudicators Symposium on September 13 in Toronto is an opportunity for established adjudicators to benefit from professional development

Grant Writing Information Session with Pat Bradley of the Ontario Arts Council on September 15 in Toronto is a free workshop for theatre individuals and groups looking for tips and must-dos for preparing an application to the Ontario Arts Council

Theatre Ontario and Why Not Theatre are hosting “A stomp in time and space” on September 22 in Toronto, a free demonstration and discussion of SITI Company’s training dichotomies from the recipients of the Independent Theatre Creators International Training Scholarship

The Professional Theatre Training Program offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance; the application deadline is October 1

Deadline to apply for the Canada Council’s Leadership for Change: Grants for Organizational Development is today

LEANARTS is an experimental pilot program designed to support promising professional arts initiatives in Toronto by introducing the tools and methodologies used by technology start-ups; the information session is on September 12

Deadline for submissions for Buddies in Bad Times’ Rhubarb Festival is September 12

Deadline for applications to ArtsBuild Ontario’s Arts Facilities Mentoring Network is September 15

Deadline for submissions for Theatre Passe Muraille’s Youth Blues Challenge is September 19

New on The Bulletin Board

Alameda Theatre Company in Toronto is hosting a Master Class Series as part of the De Colores Festival of New Works. The Playwriting Master Class with Caridad Svich is on September 21 and 22 for emerging and established theatre artists

The Royal Conservatory’s Learning Through the Arts program is starting its Artist-Educator Professional Training courses: Foundations (starts October 19), Level I (starts September 22) and Level II (starts September 25)

Port Stanley Festival Theatre is holding their free Playwrights Festival on September 26, featuring a public reading of “Feathers”, part of their new play development program

Lee Jourard, leading grace at the AwardsBrunch at Theatre Ontario Festival 2013

Behind the Scenes at Ontario’s Theatres

I was saddened to hear the news of the sudden passing of Lee Jourard of Belleville on Labour Day. Lee was a longtime member of Belleville Theatre Guild, the Eastern Ontario Drama League, and a regular at our Theatre Ontario Festival - catching up with him (often, it seemed, in the hotel lobby at check-in) was an annual tradition that I will miss. There will be a celebration of his life at a later date.

Thursday, 4 September 2014

The beginning of September marks a time of change: the end of summer, the start of a new school year, and the launch of new seasons for many theatres.

It's a time of change for us at Theatre Ontario: we are excited to be launching our new website, logo, and brand identity.

Theatre Ontario’s New Brand Identity

Theatre is our most visceral form of storytelling, a living and breathing collaborative art form. Theatre Ontario is committed to ensuring that theatre stays strong, vibrant and sustainable in our province, an ideal for Ontarians today and in the future.

As Ontario’s champion for theatre, we advocate for growth, cultivate theatre resources, provide educational opportunities, foster collaboration within the theatre community, and build innovation into everything we do.

Theatre in Ontario needs a unified and compelling voice to grow, to keep telling our stories. We are Theatre Ontario, and we are staging our collective future.

And this new look is evident not only in our logo and colours, but in our new website, as well. Simplified, cool to look at, easy to navigate, yet still containing all our incredible programs and resources. Take a look at it, from your smartphone, tablet or laptop, and let us know what you think.

Theatre Ontario and Why Not Theatre are hosting “A Stomp In Time And Space", on September 22 in Toronto, a free demonstration and discussion of SITI Company’s training dichotomies from the recipients of the Independent Theatre Creators International Training Scholarship

Theatre Ontario’s Professional Theatre Training Program offers financial support for unique and flexible training with a chosen mentor in any theatrical discipline except performance; the application deadline is October 1

Deadline to apply for the Canadian Stage / York University MFA in Stage Direction is today

Deadline for submissions for Alumnae Theatre Company’s New Ideas Festival is September 5

Deadline to apply for the Buddies in Bad Times’ Young Creators Unit for queer-identified artists 25 and under is September 5

Deadline to apply for Acting Up Stage Company’s Syd and Shirley Banks Prize for Emerging Musical Theatre Artists is September 5

ACT II Studio is holding an information day on September 8; for prospective students 50+ interested in theatre training

ACT II Studio Theatre is holding an
information day on September 8

Deadline to apply for the Canada Council’s Leadership for Change: Grants for Organizational Development is September 10

Deadline for submissions for Buddies in Bad Times’ Rhubarb Festival is September 12

New on The Bulletin Board

Theatre Passe Muraille in Toronto invites young blues musicians 25 and under to submit to their Youth Blues Challenge, performing during the intermissions of their upcoming production of Life, Death and The Blues; submission deadline is September 19

The Canada Council now invites applications for the John Hobday Awards in Arts Management, for established and mid-career arts administrators, with a minimum of ten years of experience, looking for professional development or mentorship opportunities; the deadline is September 30

Tarragon Theatre in Toronto invites submissions for the Urjo Kareda Residency Grant for an Emerging Theatre Artist (with two to five years of experience in the field); the first submission deadline is October 14

Shaw Theatre School kicks off on October 18 for a ten-week program in Niagara-on-the-Lake, with programs for youth in grades 3 through 12, plus the return of the teen sewing classes with the Shaw wardrobe department

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About Theatre Ontario

Serving Ontario's Theatre community since 1971, Theatre Ontario develops and supports theatre practitioners across the province, by providing resources, networking, training and advocacy. To access our services, become a member, or donate to support our work, visit the Theatre Ontario website